This is an enjoyable film, even if every single moment is telegraphed.
Park and Jeon do an excellent job of shifting the emotional landscape.
If you see only one more action film, let this be it.
It’s not a disappointing film. It’s just not memorable either.
For those worried that Mifune’s film quality might recede without his great collaborator, this is exhibit D (The Samurai Trilogy being A, B and C) that his instincts were good.
This is one of the better films of the last 20 years. It only took me 14 years to see it.
A weak third act tears down the momentum of what could be a classic film.
This is not Kurosawa’s best work. In many ways, it is a film of its time. Much of Kurosawa’s work is more of the timeless quality. This feels like something one might have seen from some of the better television dramas of the 1960’s. For that, it is still worth our time.
The director’s master of wide screen is such an art by this point that it feels like an entirely different story is being told for long, wordless passages.
It’s a pleasant consequence of having the skill to turn above average into the unforgettable. These films should not be important bedrock films. Yet here they are, standing head and shoulders above, almost 60 years later.
Like anything Kurosawa does by now, it’s completely worthwhile and a keeper for the memory book. No one has better control of the images one sees through lighting, angles and dialogue. He controls the mood of the viewer at his whim. It’s hard to imagine a better film maker from his time.
See this film if you want to smile, but don’t expect to go away with the idea that stoicism is easy. Even if Mifune makes it seem that way.
This is a good film, with some wonderful elements. Even if it is a bit too indulgent with wackiness, the story and Kurosawa’s eloquent use of wide screen are worth repeated viewings.
Into this miserable world walks an old, happy man (Hidari) who has something positive and distinct to say for everyone. This is enough to get several of the stories to explode into the open.
It’s hard to list Kurosawa’s films in terms of greatness. Ranking is almost impossible.
The last installment of the trilogy narrowly avoids greatness by concentrating on the love story. It’s not that any of the storylines are done poorly. On the contrary, they’re about as evocative as was possible at the time.